Estimated from our difficulty score, not taken from an exam syllabus. Checked against 333 works on the ABRSM syllabus: the exact grade is right 7 times out of 10, and within one grade 99 times out of 100.
Difficulty estimate by MusicCoach on a scale of 1 to 100.
Most works cluster between 45 and 65: a small score gap often marks a real step. The highlighted bar shows this work among those for the same instrument.
The MusicCoach difficulty measures a work's overall demands (technique, reading, stamina) on a shared 0-100 scale, consolidated from editorial and pedagogical reference points (Henle, exam syllabuses, curation) and our own analyses. It measures neither musical value nor the practice time YOU will need: two musicians of the same level can experience the same work very differently depending on their strengths (hands used to octaves, quick sight-reading…). The confidence reflects how many reference points sit behind the score and how well they agree — a lightly documented score is flagged “to validate”. For a truly personal bearing, the diagnostic and your space compare each work to YOUR estimated level, which the score alone cannot do.
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This rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
The safest next step.
A genuine step up, without a jolt.
A useful leap with guided practice.
The Suite Mirim sounds sprightly and precise, based on short dance movements where contrapuntal clarity and rhythmic accents create a lively, articulated profile rather than long-breathed lyricism. You will face specific challenges with Ornaments baroque (4.1/5) — executing appoggiaturas, mordents and short cadences with detached fingers and quick wrist releases so the grace notes remain crisp without blurring the line — and with Connaissance des formes (4.1/5), which requires shaping repeats and contrasting sections by adjusting articulation and dynamics to make the suite’s formal layout clear. The piece belongs to the modern period and treats older genres (suite, polyphonic writing) through the composer’s 20th-century lens, mixing historical gestures with modern harmony.